Issue link: https://digital.copcomm.com/i/1546058
MOTIONPICTUREC O S T U M E R S .O R G 29 From L to R: Set Costumers, Antonitta Barnes, Francesca Bruno, Actor Geoffrey Owens, AD team PA Jasmine Gordan, and Set Costumer, Dash Land trauma that could require more multiples than we currently have. Once the new episode begins, my mornings start with resetting and re- stocking laundry that went out the day prior, followed by touching base with any actors who are establishing or going into a new change that day. Then I return to the trailer to go over any notes with our set team for the day's work. LT: I spend many of my hours lingering on screens and listening to the sweet hum of printers. But I pepper in the occasional trips to set, our offices and our ager/ dyer bungalow to support or grab items where needed. Of course, my first task is turning on 88.5 FM The SoCal Sound on our trailer. Can't conquer the day without a good soundtrack. DL: Every episode is different in many aspects of trauma patients that come in and how to properly make them look like they've had a certain injury or trauma. New Dr's or Nurses, patients, visitors, characters etc. keeping the continuity within the story and the progression is big for our department. Between the 3 Costumer's on set—Frankie Bruno, Antonitta Barnes, and I—we go through the list of actors that we are all assigned to and we communicate if any of us need a little help that day. AB: Read the script, make notes, read the medical notes, help with placement of mics for sound. Watch rehearsal, match continuity or take photos of the new continuity, upload photos and notes onto the SyncOnSet App, help wrap out dressing rooms and write up laundry at the end of the night. CS: The routine on this show is in stark contrast to my previous job as the Principal Trailer Costumer for Quantum Leap, where every episode involved time travel, multiple story days, and an almost entirely new set of cast for each episode. So The Pitt really required me to switch gears, with everyone basically wearing the same costume for the entire season. Most days we're getting anywhere from 120 to 180 background, and in some cases as many as 350 background actors dressed and ready for a line-up in a little over an hour leading up to crew call. Once the BG are dressed and head to set, I get the ball rolling on laundry. The un-glamourous reality is that a large portion of my job involves doing a tremendous amount of laundry. Somewhere within these routines, there's a point in the day where new pre-fit costumes get delivered to the truck. Those get filed in with the rest, and the next day the cycle begins again. CF & TK: A typical day for us starts with putting laundry back in each character's closet, then handing out clothing to dress our background. During this time, we also do any "rush call" fittings on the day. We do a lineup before crew call to make sure everyone is exactly the same as the day prior, then we go to set. On set, we manage continuity and partner with the AD team to establish new characters, as well as make any changes, such as people getting admitted into the hospital or discharged. After camera wrap, we get the costumes back and organize for the next day and sort the laundry to be sent out or done in house. The Pitt is a large-scale television show dealing with constant emergencies. How do you prepare for such big days of scripted work? JE: On this show, communication is everything. Oftentimes several days in advance of a trauma sequence,